Bollywood's top talent managers discuss revising celebrity contracts for a post-Coronavirus world
Mohar Basu (MID-DAY; July 19, 2020)

A star borrows a line from Japanese author Haruki Murakami to express his state of mind: "And once the storm is over, you won't remember how you made it through. But one thing is certain. When you come out of the storm, you won't be the same person who walked in." The actor has been kept on standby by the producers of his next two films, as his talent managers negotiate better deals. This was our cue to reach out to the industry's star makers to understand how contracts are being redesigned, especially as a cloud of uncertainty hangs over the industry.

Where Is My Entourage?
A pair of confident hands applies the bronzer on the sculpted cheekbones as another team member devotedly holds the mirror in front of her. Jostling for space are also the stylist and his assistant, giving finishing touches to her outfit, while the manager discusses her next public appearance. A large entourage surrounding the star has hardly been an uncommon sight in Bollywood. But, on the post-COVID set, that will be a thing of the past.

With safety guidelines dramatically restricting the number of people that can be present on a set, it has had a domino effect on celebrities' entourage. Going forward, some stars may modify their contract to specify how many team members will join them on a film shoot, so as to not exceed the head count on the set.

Atul Kasbekar, owner of Bliing, which represents Vidya Balan, Mrunal Thakur, Ali Fazal and Richa Chadha, among others, says, "A set cannot have more than 55 people. So, the producers will naturally reduce staff [across the board]. Actors cannot bring more than five people for their hair and make-up." The producer also indicates that with fewer unit hands on the set, stars will have to do a fair amount of work on their own. "I am not sure actors can go and fetch their own chai," he laughs. In a landmark step, Kasbekar and co-producer Tanuj Garg of Ellipsis Entertainment have initiated a conversation with legal firms to get COVID insurance for their upcoming project, Taapsee Pannu and Tahir Raj Bhasin-starrer Looop Lapeta.

Kasbekar says, "Every star at this point is justifiably paranoid about where they are shooting, will the set be sanitised before and after they shoot, and so forth. So putting all of it on paper could help them feel more assured."

The Elephant In The Room
With the shutdown of theatres hitting the entertainment industry hard, pay cuts on projects are a reality. Only a month ago, it was heard that many A-list stars have been approached by producers of their pending movies to "help them ease the burden". The makers of a high-budget action comedy, that was to be shot across three states in the country, had requested the lead actors to take a 40 per cent cut.

Arjun Banerjee, talent and new ventures head, Exceed Entertainment, that handles the work for Saif Ali Khan and Sonakshi Sinha, acknowledges that contracts will witness an overhaul of sorts. "It's difficult to say whether there will be uniform pay revision. The entertainment industry has always adapted, and I am certain everyone in the value chain will be cognisant of the environment. Contracts will be re-structured depending on the economics of each project." He adds that in the coming months, more celebrities may opt for the profit-sharing model, which has so far been the domain of the Khans and Akshay Kumar. "Also, back-end deals [like extra promotions, additional dates over and above the shoot and more], which were practiced, may become more common here on."

In an interview to mid-day in April, Pannu — who has four films waiting to go on floors—had maintained a realistic stance about pay revision in these difficult times. "If the studios are hit, it will end up [affecting] the stars too. It's a temporary hit that will benefit us in the long run. If we act greedy right now, there will be no money in the market to make films."

Reduced income is a market reality. Nikhil Dwivedi of EYP Creation that handles the work of Jasie Gill, BPraak and other top musicians says, "If a concert pays an artist 15 lacs, a virtual gig pays 4 lacs. But what's even more worrisome is there is no work for the band mates of the artist. The entourage is feeling the pinch."

The said star, we've quoted, at the start of the copy had his own fears. As the face of the project, he is also the most exposed on set, he said, citing the instance of Parth Samathan of Kasauti Zindagi Ki who contracted COVID on shoot. Is it fair of producers to expect him to take reduced remuneration when he is putting himself at great risk to get a project completed. In his two bits, Kasbekar retorts with "An actor has multiple avenues to make back the money lost on a film project. He has the option of doing 5 extra ribbon cuttings to make the deficit amount but he/she won't be a star if his film doesn't release."

Signed And Sealed
As many as 40 projects were in the pipeline when the lockdown brought the entertainment industry to a standstill. Naturally then, some actors were given signing amounts upon finalising the deal. With the projects delayed, where do the deals stand?

Uday Singh Gauri of Siqs Entertainment, which oversees Nushrrat Bharuccha and Mouni Roy's work, explains, "We have returned the signing amount in two instances, including that of an artiste who was in London shooting for the series for a leading OTT platform. In cases where we have retained the fee, makers are given the assurance that their project will be given precedence as soon as the lockdown is lifted. Contracts will come into force from the date of shoot commencement."

Maintaining Brand Equity
Brand endorsements form a sizable chunk of a star's remuneration. Banerjee observes that amid the shooting restrictions, actors are reimagining the 30-second commercials by filming them at home. "Major brands are realising the economic benefits of home-shot ads and are considering changing their approach towards marketing expenditures post the lockdown. While the production costs will be lower, the artiste's fee won't change much." Gauri notes that most of his clients have also re-worked existing deals to a brand's advantage. "Stars have eagerly given three- to six-month extensions to help them make up for the lost time."

With a rise in demand for YouTube sensations like Prajakta Koli and Bhuvan Bam as brand ambassadors, big-screen actors are changing tactics to adapt to the evolving needs of the advertising world. "One of our actors is creating six social media posts instead of doing an eight-hour ad shoot, which is derived from a pro-rata understanding. Actors are also hosting webinars and attending Zoom parties to promote brands they endorse."

State’s power regulator tells all four utilities not to cut any consumers’ connections until the dispute is resolved
Anjana Vaswani and Makarand Gadgii (MUMBAI MIRROR; June 30, 2020)

Across section of Mumbaikars, from celebrities to middle-class folk, have taken to social media to complain about the ‘inflated’ power bills they received for the Coronavirus lockdown period. In response, the state’s power regulator has asked power utilities not to cut any connections until the dispute is resolved to the satisfaction of both parties. The directive from the Maharashtra Electricity Regulatory Commission (MERC) applies to all four power utilities that operate in the state - Mahavitaran Ltd, BEST, Adani Electricity Mumbai Ltd (AEML), and Tata Power Company Ltd (TPCL).

On Sunday, actor Taapsee Pannu tweeted a photo of the Rs 36,000 bill she received from from Adani Electricity this month with the following message: “3 months of lockdown and I wonder what appliance(s) I have newly used or bought in the apartment only last month to have such an insane rise in my electricity bill @Adani_Elec_Mum what kind of POWER r u charging us for?”

Speaking to Mirror, Pannu said that when she took up the issue with Adani Electricity, she was told that the last two months’ bills were not accurate, owing to the lockdown, and that customers had been charged on the basis of approximate readings. “They said that as the bill was supposed to be higher for the first two months, they have now added the difference in the third month,” she said, adding that she did not buy this “theory”. “They don’t have any proof of what our actual reading was. No one really recorded the reading and sent it to us until I raised this issue on social media. Now they have produced the higher readings and I am not sure if they are correct,” she said.

Actor Amyra Dastur had even more reason to be shocked when he received a BEST bill of Rs 23,000 for April and Rs 25,000 for May for his Breach Candy apartment. She has been living at her parents’ home in Colaba since the beginning of April and the Breach Candy flat has been vacant. “I was stunned because I haven’t been staying at that apartment. Plus my average bill, when I actually live there, has never been more than Rs 10,000,” said Dastur. The young actor, who has starred in a number of Hindi and Tamil films, is now relying on her father to get this, “sorted out with BEST”.

Film producer Tanuj Garg, another Adani Electricity customer, said he too received an inflated power bill for his office, which was shut during the lockdown. “We were surprised to receive some electricity bills for our office during the lockdown, running into a couple of thousand. I don’t think just a running fridge can cost so much,” he said. When told that the bill may be based on some computed average, he said, “No one can believe these theories. Who is going to keep a track of their numbers? Besides, were customers duly intimated in advance about this policy?”

On June 27, comic and actor Vir Das tweeted, “Anyone else in Mumbai get an electricity bill that is triple what they usually pay?.” On June 29, he followed it up with, “Hey all, whenever we get back to normal shows, on the first show, I’m going to charge you the cumulative amount you would have spent on coming to see multiple shows for all of 2020. Oh wait...I forgot. Comedy is not electricity. Even though electricity appears to be comedy.”

Actor Huma Qureshi said she was shocked at receiving a bill for Rs 50,000 from Adani Electricity, as the previous bill she had received was for a mere Rs 6,000. “What is this new price surge?? Kindly enlighten us,” she tweeted, tagging the power company in her message.

Many middle-class customers have also complained about receiving inflated bills. Shrkrishna Sahasrabuddhe, a resident of Dombivali East and customer of Mahavitaran Ltd, said, “Normally our bill is between Rs 800 and Rs 850 a month but this month I received a bill of Rs 2,000. It has put a tremendous strain on my finances as I am a retired private sector employee living off the interest I earn on my fixed deposits.” He added, “Mahavitaran sent a combined bill for the last three month because of which my consumed units went up to 450. This put me in the highest tariff bracket. Earlier I used to be billed at around Rs 7.50 a unit. Now I have been charged Rs.11.50 a unit.”

Raju Gurav, a resident of Mira Road and customer of Tata Power, tweeted that he got a bill for Rs 5,627 in June, which was 400% more than his usual bill. His tweet said that all of Mumbai appeared to be having problems with electricity bills and urged chief minister Uddhav Thackeray to intervene.

Meanwhile, MERC has directed the four power utilities to appoint a special officer at the sub-divisional level to resolve consumers’ complaints, and to allow customers to pay in installments if their June bill was more than twice their average bill. In addition, MERC has asked them to provide links on their websites to help customers check the number of units they consumed as per the meter, the applicable tariff, tariff slab benefits, and a comparison with bills from the corresponding months last year.

It has also asked all four utilities to install automated meter reading systems that do not require human intervention as a way of ensuring that customers receive error-free bills. The commission has asked consumers to use forums such as the Internal Grievance Redressal Committee (IGRC), Consumer Grievance Redressal Committee (CGRC) and Electricity Ombudsman to get their complaints resolved.

Mirror spoke to all four power utilities. An AEML spokesperson said physical meter reading was halted in March because of Coronavirus, and that bills for March, April and May were on the lower side as they were based on average use during December, January and February, which are winter months. “Actual consumption in April, May and June is comparatively higher due to seasonal impact (summer) and increased usage (advent of lockdown/work from home). Now consumers will start receiving the bills based on their actual consumption with appropriate tariff slab benefits. The bill amount for the past period shall be accounted as per MERC guidelines.”

The Tata Power spokesperson said, “Please appreciate that Covid-19 and the lockdown has altered our lifestyles significantly. For the period of 91 days for which bills are being sent out, families remained inside their home for all 24 hours of the day. Tata Power would like consumers to [take into account] their lifestyles during the three months of lockdown and compare it with how they lived pre-lockdown.”

A Mahavitaran spokesman said the company has sent a link to the phones of all its customers, which they can use to check if their bills are correct. “This link is also available on our website. If a customer is still not satisfied, then he or she can meet the designated official at our sub-divisional office,” the spokesperson added. BEST committee chairman Anil Patankar said, “BEST is trying to set up a user-friendly way to help consumers understand their bills and resolve their complaints.”

Industry insiders weigh in on crisis brought on by Coronavirus pandemic as the face-off between exhibitors and producers escalates
Himesh Mankad (MUMBAI MIRROR; May 16, 2020)

On Thursday, after the makers of the Amitabh Bachchan and Ayushmann Khurrana-starrer Gulabo Sitabo announced a digital release for their film, given the looming uncertainty over theatres reopening, the multiplex chain Inox made its displeasure clear, calling the decision “alarming and disconcerting”. Inox said it will now be constrained to examine its options, and reserves all rights, including taking retributive measures in “dealing with such fair-weather friends”. The statement ended with a request to content creators to follow the age-old, established windowing pattern, which is in the best interests of all stakeholders in the value chain. On Friday, another Bollywood film, the Vidya Balan-fronted Shakuntala Devi, was announced for a direct-to-digital release, as did five south films, Ponmagal Vandhal, French Briyani, Law, Penguin and Sufiyum Sujathayum, fuelling the debate further.

Pointing out the need to stay united in the wake of the “greatest public health and economic emergencies of our lifetimes”, the Producers Guild of India slammed the multiplex chain’s “unconstructive messaging”, maintaining that by calling for retributive measures, they do not lend themselves to constructive or collaborative dialogue, which is the way forward for the industry.

The Guild’s statement, issued on Friday, went on to reiterate that the production sector, like the exhibition sector, is suffering hundreds of crores of losses on a daily basis as insurers refuse to cover the cost. “Interest costs are mounting on amounts raised to fund films, with producers having to bear this additional burden with no date in sight for cinemas to re-open; in fact, with the knowledge that cinemas may be one of the last sectors of the service industry likely to be given permission to re-open,” it pointed out, adding that re-opening of cinemas, when it happens, is bound to be staggered across the country and the overseas market, which will impact the performance of a film. The Guild also reasoned that there will be a huge backlog of releases, and the smaller and medium scale films especially will suffer as a result.

The statement concluded by stressing on the importance of emphasising the predicament of the other, rather than adopting an adversarial stance which is counterproductive for the entire value chain. It maintained that a theatrical release will always be the preference for movies that were conceptualised as cinematic experiences.

Reiterating this, Kamal Gianchandani, CEO, PVR Pictures, pointed out that his multiplex chain believes that a theatrical release is the best way for audiences to experience the labour and creative genius of filmmakers, not just in India but globally. He is confident that once this crisis is over, there will be a demand from cinegoers, who’ve been cooped up at home for several weeks, to open theatres.

“We are disappointed with some producers for going straight to streaming platforms instead of acceding to our request to hold back releases till cinemas reopen. That said, this is not the first time films are being premiered on OTT. Cinema exhibition has regularly faced competition from new emerging distribution platforms over the last many years and still continued to enjoy the patronage of cinegoers,” he pointed out, saying that they appreciate producers who have publicly supported theatres and decided to reschedule their releases.

Shariq Patel, CEO of Zee Studios, who is co-producing Khaali Peeli and Gunjan Saxena, says he can understand theatre owners being disappointed, but points out that halls have been shut for the last two months and no one knows when they will re-open across India and the world. “So, every producer is well within his right to monetize asset that has been ready for a while. It’s a rational call and not a vindictive step. As and when cinemas open, there will be a steady flow of films again,” he promises, saying they are considering options like everyone else in the industry but no contracts have been signed yet and conversations are happening between theatre chains and distributors. “Equilibrium will be restored once normalcy returns.”

Shibasish Sarkar, CEO, Reliance Entertainment, reveals that they have been approached by digital platforms for all their films, including Sooryavanshi, ’83, The Girl On The Train and Anurag Kashyap’s next. “But we, along with our directors and the creative team, are clear on a theatrical release and be patient for the next three to six months,” he says, but concedes that both sides are right, in that every filmmaker aspires to take their film to the big screen, but given the current scenario, most are under a lot of financial stress. “At the same time, the theatre owners are also bleeding, so it natural for them to be disappointed. Ultimately, the ecosystem has to survive. But the tone of appeal is important, there has to be some warmth in every discussion. Both OTT and cinema halls will co-exist in the longer run.’

Akshaye Rathi, theatre owner, argues that exhibition and production are two sides of the same coin and it is critical that the sectors engage in dialogue before taking any action. “The least we can expect is the courtesy of getting a call given our long-standing relationship. Dream Girl and Bala did a business of Rs 100 crore theatrically, so in Gulabo Sitabo, the exhibitors would have been a solid stakeholder,” he avers, confident that Sooryavanshi, ’83 and Radhe will wait to come to the cinemas so people can enjoy an outing. “Some films are meant for big screen consumption. For instance, you wouldn’t enjoy a horror film on the small screen as the ambiance enhances the experience.”

Tanuj Garg, producer of Neerja and Tumhari Sulu, informs that seven-10 films due for release this year will have straight-to-digital premieres. “If these platforms record disproportionate subscriptions and viewership, this could well open the floodgates for more commissioning and acquisition of OTT movies, thereby creating a parallel economy in itself,” he reasons, but at the same time doesn’t think cinemas will or can disappear. “No one is denying the power of the big screen experience. But I see no issue with the digital medium emerging as a credible alternative to its cinematic counterpart. It just means that we’re going to have a lot more movies, and therefore a lot more new stories and new talent in our midst.”

Producers rally around their crew, who’re forced out of work by the shutdown
Himesh Mankad (MUMBAI MIRROR; April 2, 2020)

With the entire country and the world at large coming to a standstill due to the Coronavirus pandemic, it’s not surprising that Bollywood is already reeling from the after-effects. Release dates of upcoming films cannot be decided till there is clarity on when the lockdown will be lifted. Films like Looop Lapeta, Taapsee Pannu-starrer Rashmi Rocket, Satyameva Jayate 2, Shakun Batra’s yet-untitled directorial and Ek Villain 2, to name a few, which were in prep and gearing up to roll in the coming months, have been indefinitely postponed.

The run of those already in the theatres has been cut short abruptly. Several TV shows, web series and films which were in the midst of production have had to be halted mid-way. Ditto for films like Radhe, Atrangi Re, Gangubai Kathiawadi, Dostana 2, Bhool Bhulaiyaa 2, Jersey, Mumbai Saga, Vidya Balan-starrer Sherni, Nikamma and Durgavati.

The producers of these films, TV shows and web series, are already calculating potential losses. They will be impaired by increased salary costs, along with expenses incurred on the sets that were already made and on capital. These losses are not even covered by insurance policies. Several filmmakers have had to exercise the Force Majeure clause (unforeseeable circumstances that prevent someone from fulfilling a contract) with their crew and suspend services until the lockdown is lifted.

Tanuj Garg, one of the producers of Looop Lapeta, an official remake of the Hollywood thriller Run Lola Run, said, “It is a testing time, whether you have a project up for release, in prep or under production. Everyone in the value chain has been affected by the uncertainty and the ticking fixed costs. Let’s hope that things normalise soon.”

In times of crises, the film industry has always stood together and this time too, it is no different. Sajid Nadiadwala has come forward to support the cast and crew of his projects, including the Tiger Shroff and Shraddha Kapoor-starrer Baaghi 3, whose theatrical run was interrupted, Ahan Shetty’s launch pad, the RX 100 remake - the film’s shoot had to be halted in light of the industry-wide shutdown - and the Akshay Kumar-starrer Bachchan Pandey, which was getting ready to go on the floors.

Bachchan Pandey is currently being scripted. Director Farhad Samji and his team were to go on a recce in a fortnight’s time. But now, the location hunt has been pushed to a later date. “A local crew was hired and their dues have been settled,” informed a source, adding that post-release dues of those involved with Baaghi 3 have also been cleared.

The RX 100 remake was being shot with around 250 crew members in Mumbai. Sajid has also cleared their dues on priority basis. “He even paid the technical team some advance as their livelihood depends on daily wages. The operations at his production house have come to a halt but there’s little that anyone can do about it except remain patient,” the source said.

One of the most audacious attacks by the Indian navy, on the Pakistani harbour during the 1971 war, is the subject of a new film which will roll next year
Roshmila Bhattacharya (MUMBAI MIRROR; May 20, 2019)

Today, war dramas are vying for attention with biopics and sequels but so far, the efforts have largely been focused on the Army and the Air Force. Now, a mainstream Bollywood film is being planned around Operation Trident, one of the most audacious naval attacks the world has ever witnessed. Conducted on the night of December 4 and 5, during the Indo-Pakistan war of 1971, it targeted the Karachi Harbour. As a tribute to its success, December 4 is celebrated every year as Navy Day. The film is provisionally titled Navy Day and expected to go on the floors by mid-2020.

Bhushan Kumar who is producing the lavishly-mounted film with Tanuj Garg, Atul Kasbekar and Swati Iyer Chawla, points out that this was one of the most successful operations in modern naval history after World War II. “Our Navy suffered no losses and caused heavy casualties on the enemy side. It’s an extraordinary tale of strategy, thrill and bravery,” he avers.

Operation Trident was planned under the leadership of Admiral Sardarilal Mathradas Nanda and masterminded by then Fleet Operations Officer of the Navy, Gulab Mohanlal Hiranandani. For the first time, anti-ship missiles in combat were used in this region. The Karachi Harbour was the headquarters of Pakistan’s Navy and almost its entire fleet was based there in 1971. According to reports, a minesweeper, a destroyer, a cargo vessel carrying ammunition, and fuel storage tanks were eliminated, along with another destroyer that was badly damaged and had to be eventually scrapped. It was followed by Operation Python on December 8 and 9, which was another success.

And while the attacks will undoubtedly be the film’s USP, Navy Day will also focus on how a bunch of people came together, their inter-personal dynamics and the high-level strategising in utmost secrecy, that resulted in a milestone achievement in the country’s military history. According to a source, the script should be locked by August-September with extensive research and interviews with those who were a part of the operation, after which casting will start, followed by three-four months of exhaustive prep. It will be directed by ad filmmaker Razneesh Ghai.

“After Ram Madhvani (Neerja) and Suresh Triveni (Tumhari Sulu), we are launching another leading figure from Indian advertising. He’s an Army kid who shot the campaign to commemorate the 84th anniversary of the Indian Air Force and motivate youngsters to reach for the skies. With the panache of his story-telling, I’m sure Razneesh will bring a new approach to the genre,” asserts Tanuj, adding that the film will be shot in Mumbai and Delhi with the action scenes picturised at an international location. Navy Day is looking at a late 2020 or early 2021 unveiling.

Himesh Mankad (MUMBAI MIRROR; April 24, 2019)

Mirror has learnt that multiplex owners across the country have received permission for round-the-clock screening of Avengers: Endgame, which opens this Friday. With shows starting as early as 1 am, the film will play every hour. “As of now, we have 1.30 am shows at our theatre in Chinchwad and Pune and a 3.20 am show at the IMAX Screen in Wadala. We plan to add more shows” says Rahul Kadbet, Vice President, Programming, Carnival Cinemas.

According to a source, other multiplex chains including PVR, Cinepolis and INOX are also reworking their programming schedule to accommodate more shows. “It is for the first time that cinema staff will work in multiple shifts as the demand is high for the film. The first show may start as early as midnight,” adds the source.

Meanwhile, B-Town hasn’t taken kindly to the discrimination between Hindi films and their Hollywood counterparts. “They don’t have to pay VPF (Virtual Print Fee), are given a free hand in surge-pricing and now rules are being restructured so they can make more money. This is unfair,” grouses a filmmaker on the condition of anonymity.

Producer Tanuj Garg echoed the fraternity’s stance on VPF, saying, “It is unjust and discriminatory when a Hollywood film is not charged the fee and Bollywood is. As an industry we need to look at this aggressively. Ronnie (Screwvala, filmmaker) has made the first move in the direction and I am sure everyone else will unite for the cause.”

Manoj Desai, owner of Maratha Mandir and G-7 multiplex, popularly known as Gaiety-Galaxy, revealed that Disney (distributor for the film) had asked him to bump up ticket prices to Rs 250. “How could I do that when the price for a Hindi film here doesn’t exceed Rs 110? I was adamant to not screen the film, but they agreed to my terms,” he adds.

Avengers row aside, trade analyst Taran Adarsh stated that ticket rates, irrespective of a film’s scale, should be nominal. “Audience will watch a big film anyway. Reasonable pricing will bring more footfalls to the theatres, and that’s where the magic lies,” he asserts.

Producer Bhushan Kumar, whose Eid release Bharat will hit the marquee on June 5, sees this as a positive development. “With this, we got to know that such a thing is possible but at the end of the day, it’s all about demand.” When asked if he would propose a similar move for his Salman Khan-starrer, he said, “Why not? That said, even big Hindi films run for almost entire days with a five-hour break.”

Nayandeep Rakshit (DNA; January 16, 2019)

Ayushmann Khurrana’s wife Tahira Kashyap, who made the short film, Toffee (2018), will make her B-Town directorial debut soon. Her first movie — a slice-of-life drama about two women — deals with the subject of urban existence and conflicts. A source says, “The project has been tentatively titled Sharma Ji Ki Beti. The team was looking for two actresses from different age groups for it.” Madhuri Dixit-Nene and Saiyami Kher, who made her debut in Hindi films with Mirzya (2016), will soon be signing on the dotted line. The source adds, “The makers had begun talks with Madhuri last year, who recently gave her nod. She has an author-backed role. Saiyami’s character is that of a modern Indian girl, who is athletic and plays cricket. The makers have already had joint narrations with both the ladies.”

Tahira, who battled breast cancer last year, was chosen by Tanuj Garg and Atul Kasbekar for her directorial debut. It is being backed by Bhushan Kumar. The movie is expected to go on floors by the end of next month or early March. We reached out to the producers, who didn’t respond till the time of going to press.

Emraan Hashmi on the title change of his upcoming film and the decision to push forward its release
Roshmila Bhattacharya (MUMBAI MIRROR; January 14, 2019)

It’s close to 9 pm but with less than a week to the release of his first production, a relaxing weekend is the last thought on his mind. It’s been a long day and it’s not over yet. His voice is laced with exhaustion but his mind is ticking as he fields a barrage of questions with a lazy drawl that is typically Emraan but a maturity that is definitely new-found.

Excerpts from an interview:

Why is ‘why’ important in the context of your film whose title, Cheat India, now has a ‘Why’ attached to it following Censor Board guidelines?
This was an addition which came at the nth hour and we couldn’t argue because the film was close to release so we are just going along with the ‘why’ and I’m still asking myself ‘why?’. For me what’s confusing is that the promos were cleared with Cheat India, I would have imagined they would have had a problem then because they didn’t have a reference, right? Right now, they are seeing it in the context of the film, and suddenly, it’s objectionable. What I’m guessing is the two words, Cheat and India, in themselves have a negative connotation, it somewhere conveys that the makers want to promote cheating the country. But if you add the ‘why’, it would mean why would you want to cheat India, you shouldn’t. I’m confused, you’re confused, the audience is confused, only the Censor Board has an answer.

Do you feel cheated given that implementing the ‘why’ would mean confusion during promotions and an unanticipated financial burden?
Of course, I feel cheated. The film has already been pushed ahead by a week to January 18 and mid-promotions, we have to spend time changing the logo, the standees, all communication. It’s dissipating our energies when we need to channel it into other things. It’s uncalled for.

What does this three-word name reflect on the education system that your film endeavours to expose?
(Sighs) That there needs to be more open dialogues, a logical and analytical way of thinking and a semblance of consistency which I’m not seeing. Our system is all about rote mugging and not asking questions. No one is supposed to ask why, ‘why’? We as creative people put material out there and we are open to it being debated and criticised. But when you impose something like this on a film it raises the query, “Is there creative freedom?” Obviously there isn’t. I don’t see any problem with the original title given that the film exposes the malpractices in our fractured, corrupt education system and is from the point of view of the person heading the cheating mafia in UP.

Do you name anyone?
No, no, we don’t. It’s a well-researched film and the world, inspired by the umpteen scams and paper leaks, is very real but the story and characters are fictional. But I promise it will still be an eye-opener for many.

Pushing forward the release from January 25 to January 18 has snipped off a week from your promotions. How big a loss is it?
When you weigh the pros and cons of a release date change, you have to realise that now we are coming on a clear Friday instead of battling it out with three other films given that Thackeray has both Hindi and Marathi versions. Our distributor was very gung-ho about a Republic Day release but I prefer this one because I believe our film, which is a new concept on a relevant subject, needs some room rather than arrive on a Friday when there’s too much noise. It took time to lock the date because we were confused between coming on January 18 and February 1.

A Republic Day release would have been ideal for you given the subject. You were the first ones to announce that you were coming on the day. The general feeling is that you moved because you didn’t want any problem with the Thackerays?
No, that’s not true. It was an amicable decision. Their Marathi version was to come out on Balasaheb’s birthday, January 23, and they were kind enough to move that by two days to give us a clear week. It works for both our films, there was no pressure.

But Bala Lokare, secretary of the Chitrapat Sena, a Shiv Sena-affiliated film workers’ union had put out a Facebook post threatening they would not allow any other film to release on the same day as their film and your decision announced in the presence of Thackeray producer Sanjay Raut and Aditya Thackeray came soon after.
Yes, we were gunning for a Republic Day release though Friday is January 25, but that wasn’t the case. I feel bringing forward the release will work in our favour. There was no pressure from anyone, it was done in our own interests.

Does being a producer add to the responsibilities?
It does. As an actor you come on the sets, shoot, and are a part of the marketing. But the last few films didn’t turn out the way I thought they would and it made me feel a little vulnerable and powerless. As a producer you can oversee the entire process which is not possible when you are just an actor on the film. I’ve enjoyed the process but I would have gone mad if I didn’t have my three other producer partners. Among Bhushan (Kumar), Atul (Kasbekar) and Tanuj (Garg), we divided the work.

There have been some #MeToo allegations against your director Soumik Sen. He hasn’t been a part of the promotions and buzz is his name may be removed from the credits?
Soumik was completing work on the film till recently. Moreover he volunteered to opt out of the promotions to let the focus remain on the film. Soumik has been credited in the film.

You have another production lined up, Father’s Day. What are some of the lessons you will carry into that one?
You learn a lot of lessons on the way but every film is a different experience. Each film will bring its own challenges and hurdles. That will be a new learning experience. We take off mid this year, after I finish with my series and the promotions for The Body which opens in June.

You had said earlier that you won’t do another thriller and then signed The Body. As an actor are you satisfied this time?
I am satisfied with the shooting process. I have immense faith in the director, Jeethu Joseph, a great mind who really understands the genre. It’s very intense and high drama, I think it will be one of my best thrillers.

Will Rishi Kapoor’s health impede the promotions should he not be able to join in?
No, no, I’m sure he will be back before the film releases.

And Captain Nawab, is that happening?
Shelved… shelved.

There have been franchises which you have spearheaded, be it Jannat, Murder or Raaz. Cheat India has shown us a very different Emraan, can you now see yourself going back to them?
The scripts I’ve picked up today, I would not have five years ago, or maybe I would have, but these scripts weren’t floating around then. Our film wouldn’t have been made then. But now audience has evolved, I have always tried to do something different. Getting back to your question, there are no pre-set notions but my concerns have changed, there’s a certain maturity that comes with life’s experiences. I can’t go back but never say never. I had promised myself I wouldn’t do another thriller, and then The Body came and blew me away. It’s the story that draws you back. Right now, the answer will probably be no because I don’t think I have anything more to offer to these franchises. I don’t even know how they will take it ahead, beyond this.

Now that you are a producer will you collaborate with the Bhatts?
I wouldn’t mind but collaborations will only happen if we mutually agree on a great idea.

Exhibitors, producers of films opening on same day panic; makers of biopic say this is not party stand
Himesh Mankad (MUMBAI MIRROR; December 28, 2018)

Bala Lokare, a functionary of the Shiv Sena film wing, has sent ripples of fear through the film frat following his threat that the Bhartiya Chitrapat Sena will not allow any film to clash with Thackeray. While the biopic of his party founder opens on January 25, Bal Thackeray’s birthday, the other two films, the Emraan Hashmi-starrer Cheat India and Kangana Ranaut’s period drama, Manikarnika: The Queen of Jhansi, are eyeing the same release date. There was another film in the fray earlier, looking to cash in on the Republic Day weekend. But Shibasish Sarkar, COO, Reliance Entertainment, stated that Hrithik Roshan’s Super 30 is not coming on that day. “Our film is getting completed and won’t release on January 25. We will announce the release date soon,” Sarkar told Mirror.

“The film Thackeray is releasing on January 25. We will not let any other film to release on the same day,” read a Facebook post by Lokare. He was later quoted as saying, “If anyone does release a film, then we will give them a Shiv Sena-style answer. Since the film is based on Sena founder Bal Thackeray, this is the view of all the Shiv Sainiks who follow him.”

The statement has stirred panic amongst exhibitors in Maharashtra. When Mirror reached out to them, many refused to comment on the matter. Only Manoj Desai, the owner of two single screens in the city, Gaiety Galaxy and Maratha Mandir, who is currently in Dubai on a Christmas break, stated that he will discuss the matter with other exhibitors before taking the final call. “I wouldn’t want my property to be damaged. We will discuss the matter and arrive at a collective decision,” he reiterated.

Meanwhile, Kamal Jain, the producer of Manikarnika, asserts that his film will release on schedule. “We are definitely coming on January 25 since the Republic Day weekend justifies our film. Rani Lakshmibai is a national icon like Balasaheb Thackeray and there are enough screens and shows to accommodate the two films so there shouldn’t be an issue with respect to screen count,” he reasoned, adding that if necessary, he will discuss the matter with the Shiv Sena to arrive at an amicable and viable conclusion that works for both films.

Tanuj Garg, whose Cheat India takes on the corruption in the Indian education system, when asked to comment on Lokare’s stance, was tight-lipped. “We have just heard this news. We will review the situation,” was all he was willing to say.

Shiv Sena MP Sanjay Raut, the producer of Thackeray, clarified that Lokare’s comments were not the party’s official stand. “It seems like just spontaneous reactions from supporters. Not allowing any other film to release along with Thackeray on January 25 is not the party’s stand,” Sanjay maintained. 

Makers snip it out of the trailer and posters to avoid controversy
Himesh Mankad (MUMBAI MIRROR; December 13, 2018)

“Nakal Mein Hi Akal Hai”, the intriguing tagline of Emraan Hashmi’s next, Cheat India, had sparked off a certain amount of curiosity among the cinegoers. However, the Central Board of Film Certification (CBFC) have now raised objections to it, as members of Examining Committee believe that it could be interpreted as promoting cheating.

“The film’s teaser was viewed by a different examination committee and they had no objection to the tagline. But the committee which viewed the trailer felt it was not suitable for television and theatres as it might mislead youngsters,” a source close to the development told Mirror.

When Mirror reached out to Tanuj Garg who is producing the project with Atul Kasbekar, Bhushan Kumar and Emraan himself, he confirmed the news, saying, “Even though one examining committee had cleared the film’s tagline in the teaser, another committee found it inappropriate for the trailer. We complied with the CBFC directives and altered the communication for the cinema and television versions of the trailer, after which a U/A certificate was duly granted.”

So, does the tagline feature in the film? “No, it doesn’t. The closest that it gets is the dialogue that features in the trailer, ‘Akalmand Toh Tum Ho, Nakalmand Ban Sakte Ho Kya’ between Emraan and his protégé,” clarified Tanuj.

Cheat India is set against the backdrop of the Indian education system, and highlights scams during several competitive entrance examinations. It is gearing up for a Republic Day release in 2019. 

Radha Bharadwaj files lawsuit to halt production of Vidya Balan's Mission Mangal, claims film borrows from her script; calls out Atul Kasbekar for sharing screenplay without her nod
Mohar Basu (MID-DAY; November 22, 2018)

A lawsuit seeking to halt the production and release of Akshay Kumar and Vidya Balan-starrer Mission Mangal was filed in Mumbai on Wednesday by US-based filmmaker Radha Bharadwaj.

She alleges that the R Balki production, which revolves around India's 2014 Mangalyaan Mars Mission, infringes on the copyright of her original screenplay that she had shared with Atul Kasbekar in 2016. According to Bharadwaj, Kasbekar's studio — Ellipsis Entertainment — then shared the script with Balan, one of its clients, who is now doing another film based on the same idea. Apparently, Kasbekar's team negotiated the deal for Balan's new movie.

Having registered the script with the US Copyright Office in 2016 for the US and Indian market, Bharadwaj recently completed shooting her film, titled Space MOMs. She also claims that Mission Mangal is being rushed into production to cripple the commercial prospects of her venture. Bharadwaj's lawyer Srishti Ojha says, "There are hundreds of ways to tell the story of Mangalyaan, but Radha came up with the angle of focusing on the women engineers working on the mission."

Tracing the sequence of events that began in 2016, Ojha said that Bharadwaj was set to work with Kasbekar's studio to find financing for her film. In her lawsuit against Kasbekar's company, Bharadwaj states that the firm signed a non-disclosure agreement that prohibited them from disclosing her project to anyone without her written consent.

However, the lawsuit cites an e-mail from Kasbekar's team admitting that they had, in violation of the contract, given the script to Balan and confirmed that she had read it.

While Kumar recently announced the film on Twitter, Bharadwaj says, "I'll bet the details of the origin of this project were not known to Akshay Kumar, Fox Star or its US partners. But now that they know it, I ask them to act honourably. I have documentation going back to 2014 on my efforts to bring this story to screen."

The lawsuit cites media reports suggesting that Mission Mangal filmmakers are rushing into production. Adds Bharadwaj, "That they are scrambling to catch up with me seems to be an acknowledgement that their project is the same as mine. They seem to think that rushing their film into production will discourage any distributor from releasing my film."

When mid-day reached out to Ellipsis Entertainment, Tanuj Garg, managing partner, said, "Back in 2016, Radha and David [husband] were in touch with us on the subject. We interacted for a while to attempt producing her script, but eventually parted ways amicably as we were unable to reach a mutual understanding on the creative route forward. Ellipsis is not connected with the film that is currently under production in any way." Balan remained unavailable for comment.

Chandraye Sarkar, one of the many women who accused Soumik Sen of sexual harassment, writes to Cheat India producer Atul Kasbekar to take action against the director
Mohar Basu (MID-DAY; October 27, 2018)

After an actor of Cheat India anonymously named and shamed director Soumik Sen last week for his sexually exploitative behaviour, Ellipsis Entertainment - the production house backing the Emraan Hashmi starrer - issued a statement asserting that they had not received "any complaint of inappropriate behaviour by director Soumik Sen from any female member in our unit of Cheat India".

Now, media professional Chandraye Sarkar - one of the four women to have outed Sen - tells mid-day that she has appealed in writing to Cheat India producer Atul Kasbekar to take stringent action against him.

Sarkar says, "I don't understand why the producers are not taking the allegations seriously. Their statement is blasphemous and protects Soumik." In her account, Sarkar claimed that Sen sent her erotic passages in 2012, a post which she complained to Gulaab Gang co-producer Anubhav Sinha. Her story was corroborated by Sinha last week. "I was angry that Anubhav didn't act in time, but at least he said sorry now. Anubhav sent me a message saying he will never work with Soumik again. I respect him for the stand. Emraan Hashmi said he wants to clean the industry, then why is he hiding now? They are establishing that they are either accomplice to the matter or partaking in it."

She adds, "I have sent a mail to Ashoke Pandit and Balwinder Sandhu of IFTDA. I have written a mail to Atul Kasbekar and Tanuj Garg because they claim no complaint has come to them."

It has also been heard that after actor Priyanka Bose's revelations against Sen, the makers are considering corrective measures. An associate reveals, "We will have to let Soumik go from the promotional leg of the film. Emraan was clear that he wouldn't tolerate any instance of harassment against women on his film. He wouldn't want to keep his ties with the perpetrator in this case."

Hashmi, who is shooting in Ladakh, is yet to be updated on the matter. mid-day reached out to Kasbekar, who claimed he was travelling and couldn't respond.


Atul Kasbekar and Soumik Sen. Pic/Instagram